The series of vitrine sculptures built on top of an architecture model of the United Nation headquarters in New York came out of a tour of the site I took while researching and filming for the video with history in a room filled with people with funny names 4 (shown at C L E A R I N G New York in 2017). Along the tour, various "gifts to the UN" are exhibited. The vitrines function partially as an imagined gift, and an architectural proposal for the UN. It reflects on the United Nation as a social contract amongst various nations of the world, to keep peace. Embracing the architecture model through a body made up of an old comforter, is the Greek god Pan: the root word for "panic." Pan here perhaps is a stand in for the socio-animal contract we as homo-sapiens have to the world as an animal. This relationship of course is at a fragile state and prompts us with a rethinking of both our symbolic and material existence.
In the video, the UN is seen as a post WW2 bandage that is becoming loose — loose on the scar that is human history itself. In the vitrines the UN building becomes both a site and a character that merges with Pan to form a new body that is both figure and space. Preserved tree of heaven plants seem to be growing out of the body Pan. These plants are native to Asia but you can see them everywhere in New York City. They are considered "first wave invasive plants." The first sign of nature taking back its land and its ecosystem from human civilization.
The blown glass orbs are programmed to fade with an algorithm based upon breathing, the same breathing that is used to create the rhythm of the video, and also the same breathing that is in essence the song that Pan's plays on his flute: a song of panic which allows the awareness of oneself a state of meditation, to find consciousness in the vertigo of the world. Another song the sculpture is gesturing towards is the song played by my grandfather. Every time I asked him to play a song for me on the Casio Electone, he always plays this song.